"There has been a profound change in record companies' policies of how and what they record. The glitzy, studio-based opera recordings of the last century now seem impossible to contemplate, and even releasing audio-only recordings taken directly from live opera-house performances often seems less viable than issuing DVDs of the same productions. Some specialist labels devoted to specific areas of the operatic repertoire continue sterling work:"
"If full-length operas are notably scarce in the schedules of the major companies, two exceptions this year were Decca's release of the Oslo-sourced Flying Dutchman, with Lise Davidsen and Gerald Finley, and Deutsche Grammophon's Lady Macbeth of Mtsensk, part of Andris Nelson's Boston-based Shostakovich series, both of which proved less than overwhelming. Other areas of the recorded repertory have continued to expand in their own, often cheerfully haphazard, ways."
Major record companies have shifted away from studio opera recordings, making full-length operatic audio releases scarce. Audio-only captures from live performances are often considered less viable than issuing DVDs of the same productions. Specialist labels such as Bru Zane and Opera Rara continue to revive neglected French and nineteenth-century Italian operas, including historical versions like the 1857 Simon Boccanegra. The London Symphony Orchestra's label has issued Simon Rattle's Janacek series from concert performances, including Jenufa. Major-label opera releases were rare, with Decca's Flying Dutchman and Deutsche Grammophon's Lady Macbeth of Mtsensk proving underwhelming. The symphonic and other repertoires continue to expand, with high-profile Mahler cycles underway.
Read at www.theguardian.com
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